Review: THE HEART SELLERS at Stages Houston

A little history is needed to frame the show. The show's name is a play on the Hart-Celler Act, otherwise known as the Immigration and Nationalization Act of 1965, which came just one year after the Civil Right Act of 1964. In essence the act abolished the country-of-origin quota system, opening the doors to "those who can contribute most to this country – to its growth, to its strength, to its spirit." Up to this point immigration policy limited immigration almost strictly to Northern and Western Europe. The new law created a preference system that focused on immigrants' skills and family relations with citizens or U.S. residents, and no longer limited to a specific area of the globe.

The story revolves around Luna and Jane, recent immigrants from the Philippines and Korea, respectively, who find themselves in a “mid-sized U.S. city” with their husbands, both medical residents. On Thanksgiving evening in 1973, they cross paths in a grocery store, leading to an invitation back to Luna’s apartment. Over the course of the evening, as they prepare a Thanksgiving meal and drink their way through two bottles of wine, their vulnerabilities, aspirations, and disappointments unfold in real time.

Playwright Lloyd Suh explores a lot of levels through different avenues. The act of cooking serves as both a literal and metaphorical device, grounding the audience in the tactile realism of preparing a meal while also allowing the characters' personal histories to surface organically. As Luna and Jane chop, peel, and season, the silences between them become just as telling as their words. We, as an audience, are made to sit in this silence, experiencing the hesitancy and tentative trust that builds. We learn of their families back home but curiously little about their husbands, reinforcing the notion that their identities extend beyond the men they followed to America. Both arrived with dreams—Luna to sing, Jane to paint—but America might have different plans for them.

Mai Lê is ebullient as Luna, commanding the opening moments with an infectious warmth that instantly draws in both Jane and the audience. She is so happy to have met Jane and have her back to her apartment. As she draws Jane out of her shell (with the help of wine), she establishes herself as the extrovert of the pair. She fills the silences with an exuberant optimism, masking her underlying isolation. We soon understand that her whimsy and friendly nature conceal a deep loneliness and disillusionment with how her American Dream is turning out. By the play’s conclusion, the emotional dynamic shifts, leaving her seeking comfort in Jane’s arms.

Alexandra Szeto-Joe's portrayal of Jane is a master class in subtle transformation. Initially withdrawn and practically monosyllabic, she enters Luna’s home hesitant and stiff, reluctant even to remove her coat. As the night unfolds (and the wine flows), she begins to unfurl and blossom, her defenses lowering as her voice strengthens. Szeto-Joe’s performance beautifully charts Jane’s internal journey, making her emotional arc all the more compelling.

Director Miranda Cornell, making her Stages debut fresh off her success as associate director of The Outsiders (which took home four Tony Awards in 2024, including Best Musical and Best Direction of a Musical), orchestrates this intimate production with a deft touch. She brings out a full spectrum of emotions ensuring every moment, whether humorous or deeply poignant, resonates with the audience. Her experience working with young talent is evident, as she guides both actresses to fully inhabit their roles with a naturalism that feels effortless yet intentional.

The set design is equally homely yet evocative. The stage is arranged in a diamond formation, with Luna’s warm, inviting apartment extending into the audience, who are seated on two sides. This layout fosters an intimate, almost voyeuristic experience, immersing the audience in the domestic setting. Cornell utilizes the space effectively, allowing moments of lively chaos—like when the women dance around the kitchen—to contrast with the stillness of their quiet confessions on the couch.

This play resonates because it taps into something universally familiar: a transformative night spent in deep conversation, where hopes and fears intermingle, and an unexpected connection alters the course of life. The warmth of the wine, laughing through tears, and solace found in a new friendship make THE HEART SELLERS a deeply affecting theatrical experience.

More than ever this is a story that needs to be seen by people; its personal resonance and the social and political relevance is undeniable. Even though it takes place a half a century ago, its themes of belonging, isolation, and the immigrant experience remain alarmingly timely. On top of that is this is a situation that many Americans are not aware of (or are happy to turn a blind eye to). As Luna poignantly states, America once “seemed like the safe way, but I don’t feel safe.” That sentiment lingers, challenging us to reflect on whether this nation has truly become a more welcoming home for those seeking a better life. In today’s fraught political climate, THE HEART SELLERS serves as both a reminder and a call to awareness—one that demands to be seen and heard. I hear you Luna, and I don’t feel safe either.

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